The figure of woman and the fantasy of the modern Australian nation: travelling to the ‘Empty Centre’

How does a political entity such as nation so seduce and beguile that it appears to its subjects to constitute the very grounding of identity, the very grounding even of meaning itself? One of the ways it does this, for both male and female national subjects, is through the image of Woman, a phenomenon most evident in the cultural productions of a nation—its novels and films, its poetry and painting. It is in these ‘texts’ that the reach of the image of Woman in reproducing the particular fantasies that sustain the belief in our national identity, our ‘unique way of life’ can be seen. In his novel The Plains, Gerald Murnane satirises the Australian fantasy of nation that elevates Woman to such a status that she becomes both the sublime image of the very essence of nation and an always unattainable object of desire. As Lacanian theory tells us, this fantasy of Woman as the impossible sublime object is a form that is most often found on the male side of sexuation. The image of Woman that sustains such fantasies is an empty container, a pure image that contains only its own constitutive no-thing, but an image that nevertheless is compelling, that captures the gaze, appearing to offer all. That is, it has a fascinatory effect. Given that masculinist fantasies of nation continue to appear in all Australian cultural forms, reproducing predominant national meanings, it remains a vital part of the Australian feminist project to analyse these contemporary expressions of the place of Woman in national reproduction and how the masculine fantasy of Woman sustains a particular form of nation. Gerald Murnane's recently republished literary novel The Plains remains as relevant to these questions as it was when it was first published in 1982. This article offers a Lacanian analysis of the function of Woman in Murnane's The Plains, a novel which is itself preoccupied with the use made of the image of Woman in the reproduction of prevailing national fantasies.     

“The tender mother”: The social construction of motherhood and the lady's magazine

My aim in this essay is to explore the politics of one of the seemingly least political forms of literature, the woman's magazine. Specifically, I will analyze the ideological content of the Lady's Magazine, one of the most popular and profitable of British monthly miscellanies in the late eighteenth and early nineteenth‐centuries.¹ In this essay I will explore the role the Lady's Magazine played in the development of the idea of the “tender mother,” a concept which was key in the formation of the cult of domesticity and in the development of the ideology of “woman's sphere” as a realm distinct and separate from the man's world of work.²An underlying assumption informing this essay is that the concept of motherhood was (and still is) culturally constituted,³ and that literature, including popular literature found in magazines, has played an important role in this process.⁴ In the Lady's Magazine's portrayal of motherhood we can see one of the means by which the ideology of motherhood, in particular, the concept of the tender mother, was created, legitimated, and perpetuated.⁵     

The presence of absence: Beyond the “great goddess” in Ana Mendieta's Silueta Series

Ann Liv Young's The Bagwell in Me, which premiered at The Kitchen in NYC, 2008, continues this experimental dance-theater artist's characteristically brutal, anatomizing exposure of the performers’ bodies through both sexual and violent narratives. This analysis examines how Young's construction of a certain type of subject on the stage challenges the subjectivities of her audience members, provoking moments of potential eruption. By setting up the possibility of abjection through the ambivalent dynamic of attraction and repulsion, and bombarding the audience with tropes that engender a push toward Georges Bataille's concept of “radical formlessness,” I argue, Ann Liv Young's performance places notions of the stable subject – composed of a “whole” body that is coherently organized and intelligibly coded in terms of sex, gender, sexuality and race – into question. Not only will this analysis explore how viewing oral sex as choreography speaks to Bataille's discussion of radical formlessness through decontextualization and the maddening effects of staring at the sun, but it will also interrogate how the same strategy of radical formlessness could have entirely different performative effects regarding the threat of bodily coherence and taxonomy within the narrative of historical racial violence.     

'Gold and Bracelet,Water and Wave': Signature and Translation in the Indian Poetry of Adela Cory Nicolson

Writing under the male pseudonym'Laurence Hope', Adela Cory Nicolson published three collections of poetic verses set in colonial India between 1901 and 1905, namely The Garden of Kama, Stars of the Desert and Indian Love. In the late 1880s, dressed as a young male Afghan groom, Nicolson routinely followed her husband to the military camps that the British colonial authorities had set up in Afghanistan. This experience of gender and cultural cross-dressing finds a special place in many of Nicolson's love poems. Although Leslie Blanch has claimed that the'mainspring of Laurence Hope's verses still elude us', it is clear that Nicolson relied heavily on appropriating the poetic languages of Hindu'bhakti' and Islamic'sufi' traditions, thereby transforming the erotic conventions of the late Victorian fin de sicle. Her use of poetic signature is central to the formation of such a poetics. Long ignored on grounds that it was merely part of the enormous left-over corpus of colonial exotica produced and consumed with unprecedented eagerness in the age of empire, Nicolson's poetry therefore invites a reappraisal on the grounds that it constituted a significant act of translation: a practice aimed at reconceptualizing notions of national poetic legacy under colonialism and at reworking gender and identity in relation to poetic voice.     

Dialoguing with the Divided Self as the Outline of a Becoming-Woman in Music

For more than 30 years, I have been researching contemporary women's classical music and have concluded that in the current time, it is difficult to believe in the utopian world for women in music that had once been imagined in the decade of the 1990s. According to Roffe, however, in Deleuzian thought utopia is not really about hope or an ideal society, but about who we are, and what we are capable of, here and now. In this paper, through a dialogue with the divided self, or what Deleuze refers to as the ‘dividual’, I will generate some thoughts about the kinds of actions that a dividual is able to produce at different stages of her work as a musician and an activist feminist. Specifically, the paper will aim to develop a new conception of subjectivity in order to sow the seeds for new ways of thinking about women in music. It will ask two questions: who acts, and who is the subject of that action?; and, how do new ways of thinking transform real world situations? The first question leads to the theme in Deleuze and Guattari's work of ‘a people to come’ or ‘becoming-woman’, the latter a concept that disrupts the male form of subjectivity, challenging the emphasis on ‘man’ as the standard by which all beings and things are measured. The paper will map the question leads to a demonstration of how the self, conceived as a dividual, is able to make an intervention into the nature of subjectivity while at the same time gesturing towards the ways in which the practices of musicology and feminist studies might be transformed.     

Behind Harold's Bloomsday Book: Gothic Secrets in Literary History

Harold Bloom's influential theory of literary influence has been widely regarded as utterly patriarchal, and yet some feminist critics have adapted rather than attacked it. The theory argues that a great poem aggressively rewrites and thereby conceals its precursor in order to appear as completely original. Bloom's theory of precursors invites in its turn an application of itself to itself, and his Anxiety of Influence seems to trail several possible antecedents, such as Shakespeare and Freud. A more powerful precursor, however, is a novel written by a woman: Mary Shelley's Frankenstein . Just as Bloom's theory postulates only fathers replicating themselves through generational struggle and identification, so Mary Shelley's Gothic shocker represses the mother as both a source and an object of desire. What Bloom's theory thus represses behind its model of masculine sublime poets is a feminine Gothic novel. There is, however, a crucial difference: whereas Shelley's novel is profoundly critical of Victor Frankenstein's paternal shortcomings, such overweening Gothic masculinity provides the very basis of Bloom's Anxiety of Influence (1973), conceived as it is in the immediate post-Vietnam era. Such strong revision notwithstanding, behind the strong critic who re-asserts American masculinity after Vietnam stands the madman in the laboratory, and behind him stands the repressed mother, otherwise known to literary history as the Madwoman in the Attic. What she reveals is that literary history is Gothic rather than sublime, and that it will not ultimately cover and compensate for the worst creation of men: war itself. Even the enquiring spirit of the New Historicism emerges as a function of this Gothic exposure.     

Mainstream Sexualization and the Potential for Nordic New Feminism

Processes of sexualization mark a wide range of popular and high‐cultural representations in media and culture. This trend has led to academic and public feminist debate. In this article I argue that the common polarization between the repressive and the subversive potential of sexualized representations fails to understand processes of sexualization as forms of mainstream cultural experimentation. Since the mid‐90s we have witnessed the emergence of a new feminist cultural wave in the Nordic countries, embracing post‐feminist modes and popular culture that re‐politicizes feminist questions in controversial ways. I argue that this development and the Nordic context of state feminism and gender equality ideals pose a challenge to analyses of sexualization as exclusively part of commercial colonization, anti‐feminist backlash and de‐politicization. I will present a case that exemplifies the discussion of sexualization by the critical reception of the Norwegian young feminist anthology with the title Rosa Prosa. Om jenter og kåthet [Pink Prose. On girls and horniness] (2006). The ideological and aesthetic hybridity of the texts poses a problem for the critics who denounce the book's feminist potentials.     

She's old enough to be a beautiful young boy: Sarah Bernhardt,breeches roles and the poetics of aging

This essay argues that Sarah Bernhardt's choice to play young male roles late in her career served as a radically anti-agist feminist response to the limiting and often demeaning professional and social opportunities afforded aging women. While scholarship has attended to Bernhardt's cross-dress roles through the lens of gender, this essay highlights her “breeches” roles, in particular Hamlet and L’Aiglon as cross-age and cross-gender. By examining “aging” as the contextual mode by which gender functioned, we open up new terrain with which to examine and appreciate Bernhardt's significance in the scope of theatre history, women's history and aging studies. In the title roles of Hamlet and L’Aiglon, Berhnardt assumed youth and male-ness on stage, which both highlighted her offstage socially perceived deficits (aged and female) and challenged the designation of those identities as deficient; performance threw into flux what had been assumed static. And the public responded. Far from honoring the assumed cultural hetero-normative contract that aging women acquiesce public visibility, Bernhardt's breeches roles (re)constructed her body as female (from aging/sexless) and demanded audience members’, male and female, desiring gaze.     

Haunted by the Lady Novelist: Metafictional Anxieties about Women's Writing from Northanger Abbey to The Carrie Diaries

This paper argues that the development of the identity of the professional woman writer as a ‘lady novelist’ in the mid-eighteenth century has had a lasting and detrimental impact on the status of women's writing that lingers through to the present, particularly in the critical discourse surrounding chick lit. The first part of this paper discusses the figure of the lady novelist and traces her centrality to criticisms of women's writing from the eighteenth century through to the twenty-first. The second part of this paper then examines the haunting presence of the lady novelist in the metafictional works of seven representative women writers: Jane Austen's Northanger Abbey (1818), Elizabeth Barrett Browning's Aurora Leigh (1856), Louisa May Alcott's Little Women (1868), L. M. Montgomery's Anne of Green Gables (1908), Betty Smith's A Tree Grows in Brooklyn (1943), Fay Weldon's The Life and Loves of a She-Devil (1983), and Candace Bushnell's The Carrie Diaries (2010). By drawing a through-line that connects these texts, I argue for a renewed understanding of the ways in which Western women writers from the eighteenth century to the present are unified by a pervasive anxiety about being a ‘lady novelist’.     

Women Activists: rewriting Greenham's history

The Greenham Common Women's Peace Camp protest of the 1980s and 1990s has become synonymous with radical feminism. Given that many of the challenges raised and discourses employed were similar, it might appear as a relatively uncomplicated progression from Women's Liberation. From this perspective, the threat of nuclear war could be viewed as a stark indication of the persistence of male violence enabled by an unremittingly patriarchal world. The women's protest was therefore often described by those who took part as a direct challenge to the status quo, intended to bring about the cultural revolution required to overthrow it. This article examines two histories of the event published in the ‘post-feminist’ era of the mid 2000s. It will demonstrate how a shift in discourses since the end of the protest has enabled these emergent texts to challenge the previously dominant version of the Greenham peace camp. It will go on to suggest that this shift was necessary in order to communicate a new contemporary political message: a message that gains its authority by drawing on other ‘silent’ discourses from Greenham. It will compare this development to the post-suffrage period as observed by other historians. In so doing, it will once again reveal how closely the ‘present’ influences the reflections of the ‘past’, and how this affects the performances of participants in their autobiographical accounts.     

How the Sublime Comes to Matter in Eighteenth Century Legal Discourse – an Irigarayan Critique of Hobbes, Locke and Burke

This article examines the way in which the sublime comes to matter within various eighteenth century legal discourses, particularly in the work of Thomas Hobbes, John Locke and Edmund Burke. The essay seeks also to relate the theoretical works of these philosophers and lawyers to practical legislative developments of the period, in particular, the passage of the Black Act in1726 and the Marriage Act in 1753. The sublime comes to matter to the law in this period in the sense that philosophical conceptualizations of the sublime in terms of power and transcendence become increasingly significant to representations of the nature and function of English law. Such theoretical accounts of the law as are found in the work of Hobbes, Locke, and Burke, moreover, translate into juridical practices designed to affirm the status of the law as a transcendentally sublime source of political authority in the eighteenth century. This article subjects that understanding of the law to a feminist critique that draws upon the work of the French philosopher, Luce Irigaray. It will be shown that the sublime within Western thought is generally associated with a sense of dread as to the possibility of the annihilation of consciousness. This ontological dread entails, in Jean Francois Lyotard’s terms, a recognition of the possibility of “nothing further happening” to the subject. Within Western discourse, this dread is projected onto, or made material in the form of, some ‘other’ that is, in Irigaray’s estimation, most usually feminine. Thus, the sublime comes to matter in this second, ontological sense and it is within this context that the transcendental sublime emerges as a response to a sense of dread that is projected on to some material, feminine, or feminised, ‘other’. In eighteenth century legal discourse, this ‘other’ take the form of the ‘state of nature’, or the revolutionary mob, or the revolutionary female who signifies more than anything a return to animality and chaos –an ontological and political fall from grace. The Black Act and the Marriage Act, with their shared emphasis upon the preservation of political stability and patriarchal property rights, may in this context be regarded as manifestations in the legal domain of the metaphysical principles of the transcendental sublime – with its emphasis upon an escape from, and a control of, the dreadful, feminine ‘other’. This revised version was published online in July 2006 with corrections to the Cover Date.     

Pyrographies: Photography and the good death

This essay theorizes the ethical potential of photography or what I call “pyrography” by enacting a version of care for death in attending closely to a sort of rehearsal for the deathbed in French photographer and writer Hervé Guibert's photo-novel Suzanne and Louise first published by Gallimard in 1980, the same year as Roland Barthes's famous essay on photography, Camera Lucida. The essay develops the transformative ethical possibilities of and queer political potentialities of pyrography by reading Guibert's project with his two elderly aunts in relation to the work of two of Guibert's intimates: Michel Foucault's “The Social Triumph of the Sexual Will” and Roland Barthes's Camera Lucida and Mourning Diary. In Mourning Diary, Barthes describes the plan for Camera Lucida as an ephemeral monument to his dead mother whose loss he calls, following the last work of psychoanalyst Donald Winnicott: “the catastrophe that has already occurred.” Through its own writing with fire of the death we fear that has already occurred and that we cannot access directly, photography may enable the kind of “as if” work or projective imaginative enactment for which Winnicott calls. This essay put this concept of the photographic pyre or pyrographies to work to characterize a kind of photographic act. Pyrography is a facture of and with the flammable, not of and about the past, but for the present and future. It is a practice of making volatile structures for feeling with the taboo scenes of the conjunction of old age, desire, and death that create spaces not just for mourning the losses that have actually happened. Pyrographies shape spaces in which one might begin to imagine and transact with care the losses and the letting go yet to come. Pyrographies, I am suggesting, trade in the illusions of presence. They give us the catastrophe that has already occurred in palpable form, enabling us to negotiate shame and fear but also desire toward the seemingly impossible: the good death.     

Stevie Smith's Myth-Kitty

Abstract

Although Stevie Smith's poetry is in many ways very close to the laconic and less-deceived tone characteristic of Philip Larkin, there is one aspect of her work in which she differs strikingly from him and from the general features of Movement poetry: that is, in her use of what Larkin, in his 1956 ‘statement on poetry’, contemptuously called a ‘common myth-kitty’. In this chapter, I attempt to examine the treasures of Stevie's myth-kitty, not merely with the aim of distancing Smith from the Movement, but of reassessing her relationship with modernism and other poets of the generation which came to prominence in the 1930s, in particular, W. H. Auden. Smith's closest connection with modernism has often been seen to be her use of a stream-of-consciousness technique, as deployed in Novel on Yellow Paper—a technique which is inevitably compared to and dismissed as inferior to that of Virginia Woolf. Instead, I will put forward the claim that Smith's relationship to modernism should also be seen in her use of intertextuality, in the classical and other mythic fragments which, despite considerable differences of tone, place her work in the same tradition as James Joyce, Ezra Pound and T. S Eliot. I attempt to demonstrate how she draws on this ‘myth-kitty’, especially ?n her poetry, focusing on her treatment of female mythical figures, and argue that the key figure in Smith's oeuvre—the counterpart and equivalent of Eliot's Tiresias—is the figure of Persephone on her journey to the underworld.     

From Goddess Spirituality to Irigaray's Angel: The Politics of the Divine

This article argues that the act of conceptualizing a female divine, whether by socalled low-brow Goddess Spiritualists or high-brow French philosophers, rather than being a mere spiritual exercise, has enormous political significance for feminisms. In particular, I demonstrate that Irigaray's concept of the sensible transcendental, by refiguring a god which is both male and female, transcendent and immanent, theorizes a potential dissolution of the binary logic which forms the basis of western philosophy. The second half of the article looks at the complex role of the angel in Irigaray's theory of the divine in order to demonstrate that, as a result of having misinterpreted the angel's position, critics have failed to recognize the significance and relevance of Irigaray's sensible transcendental for feminist politics.     

Forms of production in practice: Fresh approaches to simple commodity production

Jaques M. Chevalier, Civilization and the Stolen Gift: Capital, Kin and Cult in Eastern Peru, Toronto: University of Toronto Press, 1982.

In an important new book, Jacques Chevalier advances the concept ‘form of production’ by giving it explicit theoretical treatment. In doing so he reveals a number of significant differences in the way various scholars have used the concept, especially on the central question — the relationship between capitalist and non‐capitalist forms of production in peripheral social formations. This is an old problem, but one that refuses quietly to die. It thus deserves continued discussion. What makes Chevalier's book worthy of extended discussion, however, is that it provides an anthropological treatment of the cultural elements involved in creating and sustaining distinctive forms of production. It does so by elaborating some of Pierre Bourdieu's notions about social practice in creating cultural as well as material life. The two sets of issues are not as far apart as one might think, since both consider actual social practice within particular material and cultural contexts, giving agency to both economic practice and to the environment containing it in determining the resulting social dynamic. In this way the scholars working on these two traditions hope to avoid many of the deterministic assumptions embedded in most analysis of production ‐ a problem that has long bedevilled marxists (as well as anthropologists). In this review essay I reflect on both sets of issues and the advantages to be gained by considering them as interrelated.     

the <Emphasis Type="Italic">conditions</Emphasis> of politics: low-caste women's political agency in contemporary north Indian society

In this article I analyse the structural and cultural conditions of low-caste women's political agency in urban north India. Whereas in Western feminist political theory, the sexual division of labour is considered to be a key constraint for women's political participation, I show how this has a secondary relevance in the context analysed. I argue that issues concerning the division of labour are intertwined with and subject to those of male consent and support for women's activities. I illustrate how it is often the supposedly ‘oppressive’ household boundaries rather than alternative outer spaces that, under a series of enabling circumstances, initiate women's political activities. Against this backdrop, I show how Indian women activists’ political agency is shaped by men's role, and how agency's relational nature is embedded in women's lifecycles, everyday practices and cultural expectations; in essence, in overall gendered agency. Comparative analyses between Western and non-Western models of political participation and discourse have only just begun. In this respect, I contribute to this nascent field in the following directions: not only do the arguments I present in this article challenge the individualistic Western subject of political action, but they also complicate the idea of the resulting empowerment as a culturally constructed process whose understanding arises from the dialectics between insider and outsider values.     

Endless Sex: The Gender Recognition Act 2004 and the Persistence of a Legal Category

This paper challenges a view of the Gender Recognition Act 2004 as involving an unequivocal shift from the concept of sex to the concept of gender in law’s understanding of the distinction between male and female. While the Act does move in the direction of gender, and ostensibly in an obvious way through abandoning surgical preconditions for legal recognition, it will be argued that the Act retains and deploys the concept of sex. Moreover, it will be argued that the concept of sex retained is not merely an anatomical understanding, but sex in a biological sense. In this respect the Gender Recognition Act can be viewed as embodying a tension between gender and sex. Further, it is contended that this tension is explicable in terms of irresolution of contrary legal desires to reproduce the gender order and to insulate marriage and heterosexuality from homosexuality in the moment of reform.     

Gender,body, and feminine performance: Edna St.Vincent Millay's impact on Anne Sexton

This paper will discuss Edna Millay's influence on Anne Sexton, with particular reference to issues such as gender politics, femininity, performativity, and the female body. Through close comparative readings of some of the two women's most representative poems, I analyze, firstly, how Millay's outspokenness and daring self-presentation as a woman writer facilitated Sexton's handling of material that was previously considered unacceptable for poetry and, secondly, how Sexton expanded the scope of women's writing in a manner that paid tribute to the earlier poet's innovation. My paper maintains that Millay's repeated attempts to explore gender and interrogate the concept of ‘authentic’ femininity anticipated Sexton's overtly feminist works. Ultimately, I am arguing that, despite the literary climate of the 1960s (which urged the rejection of poets like Millay) and despite her own ambiguous feelings for the earlier poet, Sexton eventually recovered Millay as an important literary predecessor for her generation, consistently imitated her artistic posturing, performance strategies, and self-presentation, and finally acknowledged her unique contribution to women's writing.     

Vulnerability and Ontology

The question of the possibility of an anti-foundationalist approach to ethics has come to the forefront in recent discussions in the humanities. Two questions dominate these discussions. The first is how we can define agency, the necessary ground of ethical action apart from a transcendental subject. The second is how we can define a secure foundation for ethical judgements without universals. A relativistic ethics seems, by definition, futile. I take up both of these questions here with reference to the work of Judith Butler. I argue that in her post-Gender Trouble work Butler has defined an agent, an ‘I’, that is neither a social dupe nor a transcendental subject but, rather, both discursive and material. This ‘I’ provides the basis for Butler's turn to ontology as well as her analyses of vulnerability, precarity and cohabitation. These conceptions form the basis of her ethical position. I examine Butler's central argument that the material/ontological facts of human life necessitate the equal treatment of all human beings. In conclusion, I question whether Butler's position provides a sufficient basis for an antifoundational ethics. I argue that Butler is headed in the right direction but has not yet achieved her goal.